| 1. |
- Bergström, Karl, 1980, et al.
(författare)
-
Exploring aesthetical gameplay design patterns: camaraderie in four games
- 2010
-
Ingår i: Proceedings of the 14th International Academic MindTrek Conference: Envisioning Future Media Environments. - New York, NY, USA : ACM.
-
Konferensbidrag (refereegranskat)abstract
- This paper explores how a vocabulary supporting design-related discussions of gameplay preferences can be developed. Using the preference of experiencing camaraderie as an example, we have analyzed four games: the board games Space Alert and Battlestar Galactica, the massively multiplayer online game World of Warcraft, and the cooperative FPS series Left for Dead. Through a combination of the MDA model on how game mechanics give rise to game aesthetics via game dynamics, and the concept of aesthetic ideals in gameplay, we present gameplay design patterns related to achieving camaraderie. We argue that some of these patterns can be seen as aesthetic gameplay design patterns in that they are closely related to aesthetic ideals. Further, as a consequence, gameplay design pattern collections which include patterns related to all levels of the MDA model can be used as design tools when aiming for certain gameplay aesthetics.
|
|
| 2. |
- Björk, Staffan, 1973, et al.
(författare)
-
Exploring Aesthetic Gameplay Design Patterns – Camaraderie in Four Games
- 2010
-
Ingår i: Mindtrek 2010.
-
Konferensbidrag (refereegranskat)abstract
- This paper describes a theoretical exploration of aesthetics ideals of gameplay. Starting from observations about the game artifact, several gameplay properties that can affect the aesthetical experience are identified, e.g. tempting challenges, cohesion, and gamer interaction. These properties are then used to describe several aesthetical ideals of gameplay, e.g. emergence, reenactment, meditative, and camaraderie. The properties and ideals provide concepts for how games attribute aesthetical value to gameplay design and how they distinguish their own preferences from inherent qualities of a game artifact.
|
|
| 3. |
- Björk, Staffan, 1973, et al.
(författare)
-
Game Design Patterns
- 2003
-
Ingår i: Proceedings of Level Up - 1st International Digital Games Research Conference 2003, Utrecht, the Netherlands.
-
Konferensbidrag (övrigt vetenskapligt/konstnärligt)abstract
- We present a model to support the design, analysis, and comparison of games through the use of game design patterns, descriptions of reoccurring interaction relevant to game play. The model consists of a structural framework to describe the components of games, and patterns of interaction that describes how components are used by players (or a computer) to affect various aspects of the game play. Focusing on the patterns and identified methods for using them, we describe the development of the model and how we are currently working to enlarge and validate the collection of patterns.
|
|
| 4. |
- Björk, Staffan, 1973, et al.
(författare)
-
Game Design Patterns
- 2003
-
Ingår i: evel Up - Proceedings of Digital Games Research Conference 2003, Utrecht, The Netherlands, 4-6 November 2003.
-
Konferensbidrag (refereegranskat)
|
|
| 5. |
|
|
| 6. |
|
|
| 7. |
- Gkouskos, Dimitrios, Assistant Professor, 1983-, et al.
(författare)
-
What Drivers Really Want : Investigating Dimensions in Automobile User Needs
- 2014
-
Ingår i: International Journal of Design. - Taiwan : National Taiwan University of Science and Technology. - 1991-3761 .- 1994-036X. ; 8:1, s. 59-71
-
Tidskriftsartikel (refereegranskat)abstract
- Understanding what users need, as opposed to what they say they need, can be a challenge. In order to better address users' true needs, two consecutive methods were used in this study: Future Workshops and Repertory Grid Technique. The Future Workshops-where 21 participants designed for two different future scenarios-opened up for inscribing need expressions and possibilities into five futuristic automobile concepts. These concepts were used as a basis for the Repertory Grid, a technique where users compare objects, describing properties that they find to be important or significant. In this study, 78 participants provided 390 constructs of properties, which were refined to 19 dimensions relevant to user needs. Two study measures, Evaluative Ability and Descriptive Richness, indicate which methods to use when exploring the need dimensions further. Finally, the analysis of the constructs and dimensions point towards how three aspects of vehicles and driving are emerging: how novel technology should, or should not, support driving; how the automobile can be seen as something else than just a means of transportation, and how an automobile could be a part of a greater collective of vehicles. © 2014 Gkouskos, Normark & Lundgren.
|
|
| 8. |
- Jarusriboonchai, Pradthana, et al.
(författare)
-
Personal or social? Designing mobile interactions for co-located interaction
- 2014
-
Ingår i: Proceedings of the NordiCHI 2014: The 8th Nordic Conference on Human-Computer Interaction: Fun, Fast, Foundational. - New York, NY, USA : ACM. - 9781450325424
-
Konferensbidrag (refereegranskat)abstract
- Personal mobile devices such as mobile phones, tablets, fitness wristbands, and smart watches are becoming ubiquitous and widely involved in our daily activities. However, these devices are designed and considered by the users as personal-not as shared or collaborative. As a response to this, the workshop aims to explore the design of new application ideas for mobile devices that explicitly encourage users to engage in face-to-face interaction. The research question is firstly how to design for face-to-face interactions. Secondly, it is how we can utilize various possibilities e.g. combining mobile devices (e.g. phones + tablets); extending commercial mobile-devices with hardware peripherals; utilizing social networks, geo-location services or proximity-based connections; or utilizing software to turn the personal devices into tools of face-to-face interactions. Copyright is held by the owner/author(s).
|
|
| 9. |
- Lundgren, Sus, 1970
(författare)
-
Adding a Twist to the Multiple Choice Test
- 2014
-
Ingår i: Practical Design Patterns for Teaching and Learning with Technology. - 9789462095298 ; , s. 251-254, 301-304-
-
Bokkapitel (övrigt vetenskapligt/konstnärligt)abstract
- A multiple choice-test is constructed so that it contains a fifty-fifty ratio of correct vs. faulty answers, unevenly distributed. Choosing correct answers gives positive points, choosing faulty answers gives negative points. The aim is to simplify test construction and avoid guessing.
|
|
| 10. |
- Lundgren, Sus, 1970, et al.
(författare)
-
Alchemy: Dynamic gesture hinting for mobile devices
- 2011
-
Ingår i: Proceedings of the 15th International Academic MindTrek Conference: Envisioning Future Media Environments, MindTrek 2011, Tampere, 28 - 30 September 2011. - New York, NY, USA : ACM. - 9781450308168 ; , s. 53-60
-
Konferensbidrag (refereegranskat)abstract
- Users of smartphones and other mobile gesture interfaces are often left to explore possible interactions in the interface by themselves; there is currently no generic way to indicate which gestures can be made where. This is problematic. Thus, we propose gesture hinting as a means to deal with this: it serves as a combination of static hinting, dynamic visual hinting and cursor hinting, showing users which gestures are currently available. In short we propose having a set of symbols, one for each possible gesture, which can be combined into gesture hints describing how the user can interact with the part of the interface she or he is currently pointing at. As a proof of concept we have developed Alchemy, a gesture hinting application running on iOS, just to verify that it is possible to implement gesture hinting. As a result of this design process we discuss issues related to gesture hinting in general and Alchemy in particular; suggest possible solutions; and also point out further issues that need to be taken into account when applying gesture hinting, e.g. temporal effects and gestures for more than two fingers.
|
|
| 11. |
- Lundgren, Sus, 1970, et al.
(författare)
-
Bursting the Mobile Bubble
- 2013
-
Ingår i: First International Workshop on Designing Mobile Face-to-Face Group Interactions, European Conference on Computer Supported Cooperative Work, ECSCW'2013.
-
Konferensbidrag (övrigt vetenskapligt/konstnärligt)
|
|
| 12. |
- Lundgren, Sus, 1970
(författare)
-
Case Study. Teaching Design in Large Heterogeneous Classes
- 2009
-
Ingår i: Interfaces. - 1351-119X. ; :79, s. 12-15
-
Tidskriftsartikel (övrigt vetenskapligt/konstnärligt)abstract
- Here, I address three questions, highly relevant for those of us who are NOT teaching design to small elite classes in well-equipped studios: –How can we deal with heterogeneous classes?–How can we teach and assess design in large classes?–How can we provide sufficient feedback to students in large classes? I will describe my experience from dealing with these issues during five years of teaching “Interaction Design of Graphical Interfaces”, a 7.5 ECTS-credit course spanning eight weeks, featuring roughly 60 students from diverse backgrounds each year. I hope that my answers, solutions and suggestions may not be perfect and may not fit every teacher or every course, they can at least serve as inspiration.
|
|
| 13. |
- Lundgren, Sus, 1970
(författare)
-
Controlled Confusion: Teaching complex multidisciplinary group work
- 2008
-
Ingår i: Proceedings of the International Conference of Human Computer Interaction Educators 2008 (HCIEd 2008) in Rome, 2-4 April 2008.. ; , s. 4-
-
Konferensbidrag (refereegranskat)abstract
- The project described in this paper exemplifies how interaction design students can be prepared for working in groups that are part of a larger, complex, multidisciplinary structure. It shows how a task can be designed to engage a whole class of students, letting each student be a member of at least two groups; one related to that student's assigned discipline, and one related to the sub-project that he or she is working in. This way of intertwining groups necessitates and enables communication. The general aim of the project is to increase the understanding of working in these kinds of structures, help students to explore strategies for doing it successfully, inculcate the necessity of communication, clarity and leadership, encourage respect for people from other disciplines, and develop negotiation and communication skills. How the project can be focused towards certain aims is also discussed, as is its strengths, weaknesses and special requirements.
|
|
| 14. |
- Lundgren, Sus, 1970
(författare)
-
Design narrative: Lab course on software architectures and web technologies
- 2014
-
Ingår i: Practical Design Patterns for Teaching and Learning with Technology. - Rotterdam : SensePublishers. - 9789462095304 ; , s. 251-254
-
Bokkapitel (övrigt vetenskapligt/konstnärligt)abstract
- In a computer-science lab course on software architectures and web technologies I tried to introduce student blogs as an opportunity to attain deeper insight into individual and team learning processes and to provide improved support and facilitation of learners during the online phases of the course. The research activities around this project were supported by the 'Technology Enhanced Learning' project funded by the University of Vienna (See http://elearn.pri.univie.ac.at/projects/tel/).
|
|
| 15. |
- Lundgren, Sus, 1970
(författare)
-
Designing Games: Why and How
- 2008
-
Ingår i: Interactions. - 1072-5520 .- 1558-3449. ; 15:6, s. 6-12
-
Tidskriftsartikel (övrigt vetenskapligt/konstnärligt)abstract
- Six different players negotiate the distribution of 11 jewels of nine different colors—in 60 seconds [1]. Teams of children are competing to get the right set of keys to open a treasure chest; is it morally right to encourage violent robbery of a wanted key? An old-fashioned dogfight game requires programmers to implement death—how does that feel? Designing a Myst-like adventure game in real life encourages the use of… grass. What is going on?
|
|
| 16. |
- Lundgren, Sus, 1970, et al.
(författare)
-
Designing Mobile Experiences for Collocated Interaction
- 2015
-
Ingår i: CSCW '15: Proceedings of the 18th ACM Conference on Computer Supported Cooperative Work & Social Computing. - New York, NY, USA : ACM. - 9781450329224 ; , s. 496-507
-
Konferensbidrag (refereegranskat)abstract
- Many of our everyday social interactions involve mobile devices. Yet, these tend to only provide good support for distributed social interactions. Although much HCI and CSCW research has explored how we might support collocated, face-to-face situations using mobile devices, much of this work exists as isolated exemplars of technical systems or interaction designs. This paper draws on a range of such exemplars to develop a practical design framework intended for guiding the design of new mobile experiences for collocated interaction as well as analysing existing ones. Our framework provides four relational perspectives for designing the complex interplay between: the social situation in which it takes place; the technology used and the mechanics inscribed; the physical environment; and the temporal elements of design. Moreover, each perspective features some core properties, which are highly relevant when designing these systems. As part of presenting the framework we also explain the process of its construction along with practical advice on how to read and apply it.
|
|
| 17. |
- Lundgren, Sus, 1970, et al.
(författare)
-
Escaping the obvious: Skewing properties of interaction
- 2013
-
Ingår i: Proceedings of Nordes 2013: Experiments in design research. - : Nordic Design Research. - 9788778303165 ; 1:1, s. 32-39, s. 32-39
-
Konferensbidrag (refereegranskat)abstract
- Most design methods used within interaction design originate from other disciplines. As a result, there are few methods which can focus on designing or redesigning interaction in itself. In this paper we present a structured ideation method called Skewing, which is based on changing already identified, interaction-related properties of an artifact. Hereby, designers can generate interesting re-designs whose interaction design differs from the original product. Moreover, the structured approach in Skewing helps in finding the unusual design solutions in the outer rims of the design space. Lastly, Skewing can also be used as a means to teach the materiality of interaction.
|
|
| 18. |
- Lundgren, Sus, 1970, et al.
(författare)
-
Exploring Aesthetic Ideals of Gameplay
- 2009
-
Ingår i: 4th Digital Games Research Association International Conference: Breaking New Ground: Innovation in Games, Play, Practice and Theory, DiGRA 2009; London; United Kingdom; 1 September 2009 through 4 September 2009.
-
Konferensbidrag (refereegranskat)abstract
- This paper describes a theoretical exploration of aesthetics ideals of gameplay. Starting from observations about the game artifact, several gameplay properties that can affect the aesthetical experience are identified, e.g. tempting challenges, cohesion, and gamer interaction. These properties are then used to describe several aesthetical ideals of gameplay, e.g. emergence, reenactment, meditative, and camaraderie. The properties and ideals provide concepts for how games attribute aesthetical value to gameplay design and how they distinguish their own preferences from inherent qualities of a game artifact.
|
|
| 19. |
- Lundgren, Sus, 1970, et al.
(författare)
-
Exploring Aesthetic Ideals of Gameplay
- 2009
-
Ingår i: Breaking New Ground: Innovation in Games, Play, Practice and Theory.
-
Konferensbidrag (refereegranskat)
|
|
| 20. |
- Lundgren, Sus, 1970
(författare)
-
Exploring the Interplay Between Emotions and Interaction
- 2009
-
Ingår i: Proceedings of Nordes 2009 - Engaging Artifacts. Oslo, Norway, 30ieth of August to 1st of September 2009..
-
Konferensbidrag (refereegranskat)abstract
- There seems to be a Catch-22 involved in designing interaction; it’s very hard to do it without designing an artifact too. How can we keep our main focus away from purpose, function, form and material in order to put interaction first? This article presents two design exercises that in combination highlight how emotions and expressions affect each other in design, an how interaction in turn, can be used to strengthen or express an emotion.
|
|
| 21. |
- Lundgren, Sus, 1970
(författare)
-
Facets of Fun: On the Design of Computer Augmented Entertainment Artifacts
- 2006
-
Licentiatavhandling (övrigt vetenskapligt/konstnärligt)abstract
- This thesis discusses the design of interactive entertaining artifacts such as computer games and computer augmented toys, games and objects. The aim has been to find and/or develop design tools i.e. methods and approaches that can be used when designing such artifacts in general, and when aiming for an emotional response or tempting challenge in particular. Another aim is to inspire game designers, interaction designers, product designers, artists and everyone else interested by describing actual projects where interactive entertainment artifacts have been created. Five tools are being presented, each with an accompanying case. They are: Slow technology; an approach to create a challenging object by using ambiguity, thus promoting reflection. This is being exemplified by the Interactive Quilt, which is an enigmatic combination of a jukebox and a quilt.Animal Expression Transfer; an approach that can be used to create emotional responses to an artifact by transferring animal traits onto an object, as in the case of the Iron Horse, a computer augmented bike making horse-sounds. Game Mechanics for Computer Augmented Board Games; a set of building stones for computer augmented board games, suitable for increasing, decreasing or regulating the challenge in a game. They widen the design space of the traditional board game by enabling complex functionality that does not burden the user, but enrichens the game experience. The projects MultiMonsterMania, a collectible and interactive card game with the accompanying game The Hatchery exemplify this.Game Design Patterns; a pattern language for games that can be used to discuss, analyze and design games of any kind, amongst them also computer augmented games. How this can be done is being demonstrated in the description of a workshop. The Forces-Clashes-Remnants-model; a design model for iterative multidisciplinary game design. It is being exemplified by describing the design process of myTHeme, a computer augmented storytelling game for non-storytellers.
|
|
| 22. |
- Lundgren, Sus, 1970, et al.
(författare)
-
Forces, Clashes and Remnants: a Model for Event-Driven Iterative Multidisciplinary Game Design
- 2005
-
Ingår i: Proceedings of ACM SIGCHI International Conference on Advances in Computer Entertainment Technology (ACE 2005).
-
Konferensbidrag (refereegranskat)abstract
- In this paper we present a model that describes how design disciplines interact with each other in multidisciplinary game design. We base this model on experience from the design of a computeraugmented card game, myTHeme. Our purpose is to show how hardware, software and game rules interact with and affect each other during the design process of games that are computer augmented. The model revolves around a fl exible core of design requirements, suitable for multidisciplinary design projects. This model is an adaptation of the classic iterative design model, helping to explain clashes between design areas and aid focus shifting from one design discipline to another.
|
|
| 23. |
|
|
| 24. |
- Lundgren, Sus, 1970
(författare)
-
Interaction-Related Properties of Interactive Artifacts
- 2011
-
Ingår i: Proceedings of Ambience '11.
-
Konferensbidrag (refereegranskat)abstract
- Over the years, several attempts have been made to describe properties of interactive artifacts and/or interaction. However, these attempts tend to describe more than one aspect, e.g. combining artifact properties with aspects of the user’s experience and/or with aspects that arise in use. Or, authors have focused on a small subset of qualities, or very overarching or very domain-specificqualities. This is an attempt to describe only interaction-related properties of interactive artifacts in themselves, i.e. explicitly focusing on what can actually be inscribed into an interactive artifact (as opposed to what the user may experience, or what may happen during interaction). Theaim has been to extend the interaction designer’s vocabulary, providing a means for discussing, analyzing and comparing the interactive aspects of things. The collection of properties is comparably extensive; it contains 30 operties related to six different categories: Interaction; Expression; Behavior; Complexity; Time and Change; and Users. It can be used in several ways – to analyze and discuss properties of an artifact, as a checklist during design, and lastly as a design tool – what happens if we start out with an artifact and then change the attributes?
|
|
| 25. |
- Lundgren, Sus, 1970, et al.
(författare)
-
Mapping Fabrics to Music: Lessons Learned
- 2003
-
Ingår i: Proceedings of The ninth IFIP TC13 international conference on Human-Computer Interaction (Interact 2003), Zürich, Switzerland.
-
Konferensbidrag (refereegranskat)abstract
- The original aim of the Interactive Quilt project was to create an intuitive tangible interface, which was atthe same time a beautiful object. The idea was to create a patchwork quilt that worked as a jukebox; the fabric of eachpatch being mapped to music genres to give the user a clue of what type of song would be played when touching apatch. From several user tests we found out that mapping fabrics to music is hard to do due to the highly subjectivequalities involved. As a result, this forced us to leave our initial, HCI-oriented view behind to instead explore thequalities of ambiguity and calm technology. This gave the project an entirely new angle, and resulted in many newinsights regarding the comprehension of fabrics and music, the qualities of exploration etc. In this paper we presentour entire design process and our findings.
|
|
| 26. |
- Lundgren, Sus, 1970, et al.
(författare)
-
Neither playing nor gaming: Pottering in games
- 2012
-
Ingår i: 2012 Foundation of Digital Games Conference, FDG 2012, Raleigh, 29 May-1 June 2012. - New York, NY, USA : ACM. - 9781450313339 ; , s. 113-120
-
Konferensbidrag (refereegranskat)abstract
- Games can support many types of activities. This paper explores one of these, pottering, the placid but yet focused activity of arranging and rearranging things, taking care of them, "sorting them out". Five games which support pottering are analyzed using gameplay design patterns to show how game mechanics can give rise to the activity. As a result, six patterns especially linked to pottering are presented in greater detail. Moreover, the idea of viewing games as artifacts that can support several, sometimes overlapping, activities, is being explored and discussed.
|
|
| 27. |
- Lundgren, Sus, 1970
(författare)
-
Pattern: Chaotic multiple choice test
- 2014
-
Ingår i: Practical Design Patterns for Teaching and Learning with Technology. - Rotterdam : SensePublishers. - 9789462095304 ; , s. 301-304
-
Bokkapitel (övrigt vetenskapligt/konstnärligt)abstract
- In order to reduce guessing in multiple choice question tests and to reduce effort in test construction construct the test so that the ratio of correct answers is comparatively high (e.g. 50%) and distribute correct answers unevenly (that is a question may have zero, one, or more than one correct answer options).
|
|
| 28. |
- Lundgren, Sus, 1970
(författare)
-
Teaching Aesthetics in Interaction Design: Attempt One
- 2009
-
Ingår i: Proceedings of the International Conference of Human Computer Interaction Educators 2009 (HCIEd 2009) in Dundee, 22-24 April 2009.
-
Konferensbidrag (refereegranskat)abstract
- The issue of aesthetics is complex, and the discussion on how to apply it to interaction design has hardly begun. Hence, there is not much written on how to teach this subject; this paper consists of a suggestion. Here, I will describe my work with the course Aesthetics of Interaction, and my initial intentions behind it. The course consisted of lectures, literature discussions, excursions, exercises and feedback sessions, and the examination form was tohand in a portfolio. It turned out to be a creative and interesting journey with highlights such as the intricacies of designing playful interaction, evoking angst, mimicking Word’s design, adding time to art, redesigning the Office assistant and more. These and the other parts of the course will be analyzed and discussed in relation to their learning outcomes in terms of my observations and the students’ own comments. Consequently, possible changes and improvements will also be discussed.
|
|
| 29. |
- Lundgren, Sus, 1970
(författare)
-
Teaching and Learning Aesthetics of Interaction
- 2010
-
Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- This dissertation is framed as an action research project, aiming to explore different means of teaching aesthetics of interaction. As such, it consists of a case study describing the work with a course in interaction design entitled “Aesthetics of Interaction”. Different views on aesthetics of interaction are discussed, as well as seeing interaction and temporality as design materials. These are then applied or utilized in design exercises as well as in other aspects of teaching.The result is threefold:- Firstly, the approach to teach, learn and discuss aesthetics of interaction in terms of aesthetic ideals. These are seen as aims of design, and do also illustrate that there is more than one possible, and valid, view on aesthetics of interaction. Six ideals are described; Coherency, Efficiency, Criticism, Sensing, Emotion and Playfulness.- Secondly, a series of design exercises in the form of stand-alone learning objects. They are highlighting various aspects of aesthetics of interaction such as interaction per se, temporality, and of course the different aesthetic ideals. The exercises are thoroughly described with observations on what can be considered hard, examples of outcomes and suggestions on how to skew exercises towards a slightly different aim.- Thirdly, one possible syllabus for teaching aesthetics of interaction.To some extent the case description in itself can be valuable as well since it touches upon many common issues in design teaching.
|
|
| 30. |
- Lundgren, Sus, 1970, et al.
(författare)
-
Teaching and Supervising Distant Interdisciplinary Design Teams
- 2015
-
Ingår i: The Value of Design Research, 11th International European Academy of Design Conference.
-
Konferensbidrag (refereegranskat)abstract
- Due to the multidisciplinary character of interaction design and HumanTechnology Interaction (HTI), the type of the department that runs interaction design or HTI education typically has a major influence on the education, the courses and the students. We have explored these differences by co-organizing a course together, combining teachers and students from an interaction design oriented education with those from a HTI-oriented education. In this, we wanted to expose ourselves and our students to the differences that occur when teaching these subjects from different angles, using them as a strength rather than a weakness; learning from them rather than loathing them. We also wanted to explore whether and how it is possible to run and supervise design projects online. The outcome shows that this approach can have great merits – for both students and teachers.
|
|
| 31. |
- Lundgren, Sus, 1970
(författare)
-
Teaching design in large heterogeneous classes
- 2009
-
Ingår i: Interfaces.
-
Tidskriftsartikel (övrigt vetenskapligt/konstnärligt)abstract
- Having just returned from the annual Human–Computer Interaction Educators Conference (HCIEd) in Dundee I’ve once again come to realise the very different conditions under which many HCI and interaction design teachers work. In many cases, but not all, interaction design is taught to small classes in a studio-based environment. Students are carefully selected, and are taught in small classes with a lot of one-to-one teaching. This is the case at the Masters course at the Royal College of Art, for example. In other situations, like at my own university, a Masters in interaction design is taught in larger classes, say 40–80 students, without studios but in labs where the students can leave their work overnight. In addition, students from a wide range of educational backgrounds are accepted; their key skills can be computing, cognition science, industrial design, ergonomics, graphic design, electrical engineering and almost anything in between. Large groups of students from different backgrounds are pretty much the norm for HCI courses too, from what I found at the conference, which raises some important questions:- How can we deal with heterogeneous classes?- How can we teach and assess design in large classes?- How can we provide sufficient feedback to students in large classes?
|
|
| 32. |
- Lundgren, Sus, 1970
(författare)
-
Teaching Gameplay Design is Teaching Interaction Design
- 2008
-
Ingår i: Proceedings of the International Conference of Human Computer Interaction Educators 2008 (HCIEd 2008) in Rome, 2-4 April 2008.. ; , s. 8-
-
Konferensbidrag (refereegranskat)abstract
- This paper describes the benefits of integrating gameplay design in interaction design teaching since this allows students to practice designing for unusual situations, considering ethic and aesthetic issues as well as issues of use and abuse, often all in the same project. Some examples – ranging from a three week group project to a half day exercise – are described, each together with aims and noted learning outcomes related to interaction design, as well as with a general discussion. In addition, a few student projects are described together with learning outcomes. Finally the pros and cons of this approach are discussed, and educators willing to try it, but inexperienced in games, are getting some useful information on what to look into.
|
|
| 33. |
- Lundgren, Sus, 1970, et al.
(författare)
-
Teaching Interaction Design: Matters, Materials and Means
- 2006
-
Ingår i: In the Wonderground international conference proceedings. November 1-4, 2006, Lisbon, Portugal..
-
Konferensbidrag (refereegranskat)abstract
- The designer works with people, with materials, with products. Designers are seen as people concerned with form, function and surface. But how often is the designer associated with technology? Still programming can be just as a creative activity as drawing. Deriving from experiences from the discipline of Interaction Design, we advocate a wider view on what a designer is and does by describing how we treat computational technology as any other design material and how we train engineering students and others into becoming designers in a technology-oriented environment. Our method to create an education in applied Interaction Design lends ideas from traditional design education, for instance open problems and exhibitions of results, but also incorporates high-fidelity prototyping and multidisciplinary projects carried out by heterogeneous groups, since this lies in the nature of the subject and the students.
|
|
| 34. |
- Lundgren, Sus, 1970, et al.
(författare)
-
Thrimage: An Empathy-Oriented Discussion Tool for Classroom Use
- 2015
-
Ingår i: MobileHCI '15: Proceedings of the 17th International Conference on Human-Computer Interaction with Mobile Devices and Service. - New York, NY, USA : Association for Computing Machinery (ACM). - 9781450336536
-
Konferensbidrag (refereegranskat)abstract
- Thrimage is a class-application where pupils choose and rank images in relation to a given word or notion. In seeing who else chose similarly, as well as in a debriefing teacher-led discussion, pupils gain insight in others' way of thinking, and learn to argument for their own opinion but also to respect others, both of which supports the development of empathy and mutual understanding. The design is part of a long-running design exploration on designing of collaborative, co-located experiences using mobile devices, in combination with an educational need.
|
|
| 35. |
- Lundgren, Sus, 1970, et al.
(författare)
-
Time, Temporality and Interaction
- 2009
-
Ingår i: Interactions. - 1072-5520 .- 1558-3449. ; 16:4, s. 34-37
-
Tidskriftsartikel (övrigt vetenskapligt/konstnärligt)abstract
- Temporal considerations are important in interaction design, since they affect both use, manners of interaction, and aesthetics. So – how can an artifact be changed by altering its temporal aspects? Inspired by examples from different aesthetic disciplines, we have found six temporal themes. These range from Live Time – when time is the same “inside” as “outside” of the artifact – to the other extreme, Juxtaposed Time where events are not only shown out of order but also simultaneously. Knowledge of these themes opens up an unexplored direction of the design space; we suggest a thinking technique for this, and present a series of simple drawing applications to exemplify this.
|
|
| 36. |
- Lundgren, Sus, 1970, et al.
(författare)
-
Time, temporality, and interaction
- 2009
-
Ingår i: Interactions. - : Association for Computing Machinery (ACM). - 1072-5520 .- 1558-3449. ; 16:4, s. 4-37
-
Tidskriftsartikel (övrigt vetenskapligt/konstnärligt)abstract
- Theo had just discovered the musician Robert Fripp, who is famous for recording himself while playing and then playing it back—in effect, playing along with himself [1].Theo: "What if we do that in interaction design?"Me: "...?"Theo:"What if we use time as a kind of design material?"The question kick-started an intense brainstorming session and a project that was to last for a couple of months. Theo has a point. Most of the time we do not start out by considering time in our designs; we let other parameters steer design and let the use of time become a consequence. "The time dimension, if we may call it that, is left to take care of itself," wrote design method guru John Chris Jones [2]. For instance, when the user goes for lunch and leaves the interactions article she is writing behind in Word, was it actively decided that the time "in" Word should stop? Or, that if she later needs to open an older version of the document, time must back up and restart? What if, we asked, time "in" a program really does pass? How would this affect use? And design?
|
|
| 37. |
- Lundgren, Sus, 1970
(författare)
-
Toying with time: Considering temporal themes in interactive artifacts
- 2013
-
Ingår i: Conference on Human Factors in Computing Systems - Proceedings. - New York, NY, USA : ACM. - 9781450318990 ; , s. 1639-1648
-
Konferensbidrag (refereegranskat)abstract
- This paper argues that there is a value in deliberately and systematically exploring potential temporal behaviors of an interactive artifact, either as a means to add new functions, or to change the interaction with it. An improved version of Temporal Themes [23] - a vocabulary describing how software can "use" time or sequences of events - will be presented, alongside a series of design cases. These exemplify how adding or changing temporal themes in existing applications can enhance functionality and/or interaction. Moreover, the cases also serve as a basis for a discussion of the issues coupled to temporality, control and interaction strategies. Finally, a design approach with focus on temporal aspects is outlined. As a result, the paper opens up for a more conscious use of time and temporality in interaction design.
|
|
| 38. |
- Lundgren, Sus, 1970
(författare)
-
Treating and Teaching Aesthetics as Personality
- 2008
-
Ingår i: NordiCHI 2008: Building Bridges - 5th Nordic Conference on Human-Computer Interaction; Lund; Sweden; 20 October 2008 through 22 October 2008. - New York, NY, USA : ACM. - 9781595937049 ; 358, s. 511-514
-
Konferensbidrag (refereegranskat)abstract
- The environment changes direction fast /Thinking like a pen flies /Through the wall the headache is thrown /My fear is created by you others /I should have tasted freedom /I call out.This is not the anguished work of some angst-ridden young poet; instead it is the result of a conversation between a group of digital personalities, manifested as dolls trapped in an elevator, but also in graphics, in words and wording, in gestures and in relations and reactions. The system is called Physical Poets, and the creation of it was a workshop aiming at teaching interaction design students how to reason about, and make, aesthetic decisions. In this project, we taught one possible view on aesthetics, namely the view that when designing complex systems, it can sometimes help to assign a “personality” to the system in order to make all aspects of it merge together to an unified set of expressions and behaviors. By designing actual personalities – the poets – this concept washighlighted to the students, as were the issues with expressing these personalities and making sound aesthetical decisions fitting both their personalities and the system as a whole.
|
|
